Killing Thyme is a multi-toned exploration into the relationship between two polar opposites, budding horticulturalist, Sam (Joe Reynolds) and the original grumpy old man, Norman (Brian Cox). The film perfectly captures the naivety of youth and the cynicism of old age. With elegant cinematography and an impressive, top-class cast, Killing Thyme is a refined film that takes you on a tour of emotion, complex subject matters and everything in-between.
The opening piece of music is exceedingly catchy and perfectly sets the film up as the quirky and cheeky film, that it appears to be. The use of a noisy, busy soundscape of the hustle and bustle of city juxtaposed against the peaceful, slice of heaven that is allotment proves to be extremely effective and a great addition. Indeed, the way the allotment is often framed has garnered a great deal of thought and purpose; utilising high up wide shots from Sam's balcony, allowing the contrasting concrete-jungle to besiege the vibrant allotment, creating an alluring micro-Garden of Eden.
A significant element of the film's glory is the polished and captivating performances. Joe Reynolds, playing Sam, performs exceedingly well alongside an impressive line-up, showing in moments great versatility between cheeky and naivety. The enthralling Brian Cox does not put a foot wrong embodying, masterfully, the grumpy old man, Norman. Cox makes careful work refraining from delving too deeply into Norman's all-out and depressing death wish, balancing it nicely with subtle moments of comedic replies; an unsurprisingly strong performance. Charlotte Riley is the film's hidden hero, offering a realistic and warm performance as Sam's doting mother, Anna. Relying on such a small cast can be a blessing or a curse, for Killing Thyme, the casting was a certain masterstroke.
The plot of the film in its entirety is a wholesome and sweet story that achieves a lot in way of its emotional range. However, at points it felt the breadcrumbs were laid too thickly regarding Norman's wish to die and came across a bit too nonchalant, where subtlety may have worked more. Moreover, Sam's decision to act upon this, though it led to a brilliantly worked final scene, was quite a difficult decision to accept, especially since we are told and shown Sam to be an intelligent and bright kid; for Sam to take Norman's wish literally arguably surpasses naivety alone. Nonetheless, the film provides a wonderfully worked story brimming with a variance of emotion, that doesn't just go straight down the line but twists and turns. Furthermore, a particular detail that can be admired and appreciated in the story is the symbolism of Norman and his allotment. When we first meet Norman, like his allotment, he has given up, is wasteful and awaits death- when Sam enters his world he brings life and energy back to not only the allotment but back to Norman. Here lies the crux of the film; both characters ultimately gain, learn and grow from one another, Norman has a rejuvenated sense of life and Sam gets a paternal-like figure he, deep down, has always desired.
Killing Thyme is a wonderfully casted and constructed film, that aims to achieve a great deal in a short 23-minute period. It impressively shines as a technical triumph, with well-thought-out style and makes that which is difficult look effortless. At its heart it has a pure and warming story of an unlikely friendship.
The opening piece of music is exceedingly catchy and perfectly sets the film up as the quirky and cheeky film, that it appears to be. The use of a noisy, busy soundscape of the hustle and bustle of city juxtaposed against the peaceful, slice of heaven that is allotment proves to be extremely effective and a great addition. Indeed, the way the allotment is often framed has garnered a great deal of thought and purpose; utilising high up wide shots from Sam's balcony, allowing the contrasting concrete-jungle to besiege the vibrant allotment, creating an alluring micro-Garden of Eden.
A significant element of the film's glory is the polished and captivating performances. Joe Reynolds, playing Sam, performs exceedingly well alongside an impressive line-up, showing in moments great versatility between cheeky and naivety. The enthralling Brian Cox does not put a foot wrong embodying, masterfully, the grumpy old man, Norman. Cox makes careful work refraining from delving too deeply into Norman's all-out and depressing death wish, balancing it nicely with subtle moments of comedic replies; an unsurprisingly strong performance. Charlotte Riley is the film's hidden hero, offering a realistic and warm performance as Sam's doting mother, Anna. Relying on such a small cast can be a blessing or a curse, for Killing Thyme, the casting was a certain masterstroke.
The plot of the film in its entirety is a wholesome and sweet story that achieves a lot in way of its emotional range. However, at points it felt the breadcrumbs were laid too thickly regarding Norman's wish to die and came across a bit too nonchalant, where subtlety may have worked more. Moreover, Sam's decision to act upon this, though it led to a brilliantly worked final scene, was quite a difficult decision to accept, especially since we are told and shown Sam to be an intelligent and bright kid; for Sam to take Norman's wish literally arguably surpasses naivety alone. Nonetheless, the film provides a wonderfully worked story brimming with a variance of emotion, that doesn't just go straight down the line but twists and turns. Furthermore, a particular detail that can be admired and appreciated in the story is the symbolism of Norman and his allotment. When we first meet Norman, like his allotment, he has given up, is wasteful and awaits death- when Sam enters his world he brings life and energy back to not only the allotment but back to Norman. Here lies the crux of the film; both characters ultimately gain, learn and grow from one another, Norman has a rejuvenated sense of life and Sam gets a paternal-like figure he, deep down, has always desired.
Killing Thyme is a wonderfully casted and constructed film, that aims to achieve a great deal in a short 23-minute period. It impressively shines as a technical triumph, with well-thought-out style and makes that which is difficult look effortless. At its heart it has a pure and warming story of an unlikely friendship.